Movie Review: La La Land

7 Nominations → 7 Wins → Golden Globes Record!

While watching the Golden Globes Awards Ceremony, I got caught up in La La Land fever and knew I had to see this movie…to see if it merited all the hype.

I wasn’t disappointed.

From start to finish, the movie entertains and engages us. The music is simply delightful—not surprising that awards were given for Best Song and Best Musical Score—and the acting is superb—Emma Stone and Ryan Gosling have extraordinary screen chemistry.

Set against the backdrop of modern-day Hollywood, this is an old-fashioned story of an aspiring actress who falls for a piano-playing jazz pianist. While much of the movie is grounded in reality, the musical numbers remind us of the razzle-dazzle days of old Hollywood. My favorites include the opening scene where people exit their cars and start dancing on a traffic-clogged freeway in Los Angeles and a later scene where the young lovers take a metaphorical flight up into the stairs of the Rialto Cinema.

I believe it’s impossible to watch this movie and not be uplifted by its inspiring message. Emma Stone said it best: “These have been really rough times. To have something so transporting that brings you joy and nostalgia and hope and heartbreak for two hours is really needed now.” (Interview–Closer Magazine)


Movie Review: Hidden Figures

As a retired mathematics teacher, I took great pride in watching three brilliant African-American women help launch astronaut John Glenn into orbit. The film focuses on the untold story of Katherine G. Johnson (Taraji P. Henson), a mathematical prodigy whose grasp of analytic geometry makes her indispensable to NASA.

But Katherine’s workplace environment is far from pleasant.

As the only female mathematician in a sea of white men, she is barely tolerated by her colleagues and forced to endure indignities. I couldn’t believe her half-mile trek to the “colored” bathroom in a separate building and the “colored” coffee pot that was designated for her use. Thankfully, Director Al Harrison (Kevin Costner) intervenes.

Acting office supervisor (without the proper title or pay), Dorothy Vaughan (Octavia Spencer) deals with an unsympathetic superior (Kirsten Dunst), who accepts and promotes the idea that segregation is “just the way things are.”

Feisty Mary Jackson (Janelle Monáe) faces discrimination at all levels when she applies to the engineer training program at the University of Virginia.

Eyes riveted to the screen, I alternated between goose bumps and brimming tears, as I watched these ‘60s women surmount challenges and receive the respect and recognition they rightfully deserved. Photos of the actual women in the closing credits add to the authenticity of this larger-than-life film.


Movie Review: The Dressmaker

Before watching, I read one review that suggested this movie might not be a comfortable fit for North American viewers. But I couldn’t resist the premise of love and revenge in 1950s rural Australia and the casting of Kate Winslet as protagonist Mildred (Tilly) Dunnage. So, I rented the DVD.

I wasn’t disappointed. In fact, I was entertained and fascinated by the eccentric characters, plot twists, budding romances, dark secrets, deaths, and haute couture in this excellent adaptation of Rosalie Ham’s debut novel.

The film opens with drop dead gorgeous Tilly stepping off a Greyhound bus, setting her Singer sewing machine on the ground and snarling, “I’m back, you bastards.” Within seconds, cross-dressing Sergeant Farrat (Hugh Weaving) approaches and asks, “Is that…Dior?” From there, Tilly continues to her family home where she intends to nurse her sick mother (Judy Davis), who lives in squalor at the top of the hill.

Barely tolerated by her mother and shunned by many of the townspeople, Tilly refuses to leave. Instead, she stays and uses her dressmaking skills to transform the frumpy women. But that is only part of a plan that slowly unravels as Tilly falls in love with a childhood friend (Liam Hemsworth) and then experiences personal tragedies.

More twists and turns and the ending is totally unexpected. Or perhaps not.


Movie Review: Collateral Beauty

The reviews were less than promising. And the Rotten Tomatoes score dropped from 24 percent to 14 percent in less than one week. But I was determined to see this new Christmas movie with an other-worldly twist and a host of A-list actors.

Will Smith stars as grief-stricken Howard Inlet, the owner of a Manhattan ad agency, who spends his time building intricate structures out of dominos, writing poison pen letters to Love, Time, and Death, and bicycling madly through the streets of New York. Unable to even speak of his six-year-old daughter’s death, Howard retreats further and further from reality, jeopardizing the financial futures of his company and minority partners: Whit (Edward Norton), Claire (Kate Winslet), and Simon (Michael Peña).

Desperate to seize control and prevent catastrophe, the partners hire three struggling actors to personify Death (Helen Mirren), Love (Kiera Knightly), and Time (Jacob Latimore) and gaslight Howard while an unscrupulous investigator records the interactions and doctors the footage. I enjoyed watching all these “entities” in action…my favorite was Helen Mirren’s portrayal of Death.

Taken aback by these personal replies from the universe, Howard begins to doubt his sanity and seeks solace in a support group headed by Madeleine (Naomie Harris).

The three partners share their own issues with the actors, acquiring new insights as the film reaches its climax.

While watching, I was able to suspend my own ideas about what usually happens when angels and wannabe angels don’t magically appear and set everyone on the right path. And that is the allure of inspirational fables such as Collateral Beauty.

As to the definition of collateral beauty…it wasn’t made very clear in the film. This is my interpretation:

Our deepest losses can bring us to our knees and endanger our peace of mind. But those losses can also reveal moments (sometimes micro-moments) of beauty and laughter. When those fleeting moments appear, we must acknowledge them.


Movie Review: Rules Don’t Apply

Set in late 1950s Los Angeles, Rules Don’t Apply is a fictional portrait of Howard Hughes in his later years. Wearing two hats—director and actor—Warren Beatty skillfully captures the eccentricities, OCD habits, and neurosis of the reclusive billionaire.

Appearing primarily in shadows, Hughes interacts with a revolving door of characters played by several A-list actors, among them Matthew Broderick, Martin Sheen, Alec Baldwin, and Candice Bergen.

The main plot involves a fictional love triangle with aspiring actress Marla Mabrey (Lily Collins), chauffeur Frank Forbes (Alen Ehrenreich), and Howard Hughes. Several comedic scenes with Marla’s mother (Annette Bening) highlight the frustration experienced by the more than thirty young women who are anxiously awaiting their screen tests and first encounters with Howard Hughes.

Ignoring the rule that chauffeurs cannot have relationships with the actresses, Marla and Frank flirt and gravitate toward each other. But when Marla finally meets Hughes for his-and-hers TV dinners on folding trays, she becomes infatuated with him. And, in his weird, unconventional way, Hughes also shows interest. Complications ensue, and Marla disappears from the movie for a significant period of time. I would have liked more scenes with Marla and her mother.

At times, the movie rambles, veering in several directions. While some scenes—especially those involving intense cravings for banana nut ice cream and bizarre flights manned by Hughes—are comedic, others only skim the surface of the billionaire’s business problems and accusations of dementia by an unauthorized biographer.

An entertaining movie that has piqued my interest about Howard Hughes.


Movie Review: Inferno

Having thoroughly enjoyed the movies based on Dan Brown’s international blockbusters, The DaVinci Code and Angels and Demons, I looked forward to seeing his latest thriller, Inferno, brought to life on the big screen.

Unfortunately, I was less than thrilled with this latest installment.

I did appreciate the cinematic appeal of Tom Hanks as he slipped back into the role of symbologist Robert Langdon for the third time. And the story line did appear promising: Robert Langdon grapples with puzzles and riddles as he battles chilling adversaries. If Langdon fails, a lethal virus could be unleashed upon half the world’s population.

What went wrong?

Too many tangled threads and close chases as Langdon and his sidekick Sienna Brooks (played by Felicity Jones) follow a trail of clues that take them from Florence to Venice to Istanbul. In spite of the confusion and repetition, I did enjoy the attractive backdrops.

When the climax is finally reached in Turkey, the story line picks up and all the threads are neatly sewn up, perhaps a bit too neatly. I would have liked more details and more time devoted to Langdon’s relationship with a former love interest (Sidse Babett Knudsen).

My advice: Read the book first and consider waiting for the DVD release.

BTW…I recall reading The DaVinci Code and Angels and Demons before seeing the movies.


Top 10 Fav Noir Films!

I’m happy to welcome award-winning Canadian author M.H. Callway to my blog. Today, Madeleine shares her favorite Noir Films and her books.

Here’s Madeleine!

I’m a visual writer. I fell in love with the movies at age three. As a teenager, I fell under the spell of noir cinema: tough settings criss-crossed with black shadows, peopled with sinners doing horrible things to each other – what was not to love?

So in honour of Noir at the Bar (Bouchercon 2016), here are my Top 10 Fav Noir Films. Most centre on strong, complex female characters. Their striking settings are often surreal and have stayed in my mind forever. The characters get justice even if that justice is harsh and twisted. And almost all feature devastating endings with a darkly satiric edge.

So here’s my list. I’d love to hear from you about your 10 Fav Film Noirs.

blood-simple10. BLOOD SIMPLE (Joel & Ethan Coen) – The debut film of the Coen brothers who developed the story from Dashiel Hammett’s phrase “blood simple” meaning crazed by violence.

An unpleasant man hires a shady PI to murder his wife and her lover. Things naturally go awry with a literally harrowing murder scene that rivals the death of Rasputin. One of the best exit lines ever, delivered by veteran character actor, M. Emmet Walsh whose performance oozes sleaze.

lady-from-shanghai9. LADY FROM SHANGHAI (Orson Welles) – Orson Welles ran out of money trying to stage a musical version of Around the World in 80 Days. He allegedly pitched The Lady from Shanghai to Columbia Pictures president Harry Cohn while looking at the cover of a pulp novel he’d never read. It’s a “who’s gonna kill who” thriller with adult dialogue sparked with sharp-edged barbs.

Welles invented the final shoot-out in a fun house of mirrors, a sequence that’s become standard in action and horror films. Nearly 70 years later, Welles’s original remains the best.

sorry-wrong-number8. SORRY WRONG NUMBER (Anton Litvak) – A spoiled, bed-ridden heiress overhears a murder plot on her telephone. Through a series of phone conversations with strangers and her unhappy husband, she realizes the thugs are about to murder her.

Based on a radio play by Lucille Fletcher, the film works because of its unusual plot structure and a terrific performance by Barbara Stanwyck as the woman you love to hate.

A devastatingly satisfying one-line ending: “Sorry, wrong number.”

mildred-pierce7. MILDRED PIERCE (Michael Curtiz) – Based on the novel by master noir writer, James M. Cain. The film depicts the rise and fall of businesswoman, Mildred Pierce (Joan Crawford).

Abandoned by her husband, Mildred battles poverty and terrible grief to support her family. Against all odds, she becomes rich, but her insatiable drive to join high society ends up destroying what she fought so hard to save: her family. A remarkable film even in 2016, because the tragic hero is a woman rather than a man.

vertigo6. VERTIGO (Alfred Hitchcock) – A masterpiece mystery thriller that shows how a grippingly profound story can be created with a minimum of characters. The film explores the destructive power of self-delusion and mental illness at a visceral level.

A law officer develops vertigo after a nearly fatal fall. His phobia makes him the victim of a diabolical plot. James Stewart is at his best as the unsympathetic hero: even Hitchcock’s heavily artificial camera work, invented to mimic vertigo, does the job. One of the best and most devastating movie endings of all time!

the-third-man5. THE THIRD MAN (Carol Reed) A thriller filmed on location in the rubble of post-WWII Vienna. It goes beyond genre in examining business corruption, betrayal and the tragedy of misplaced loyalty.

Holly Martins (Joseph Cotton), a broke pulp fiction writer, travels to Vienna to meet his old friend, Harry Lime, who’s promised him a job. But he arrives to find that Lime has been killed in a hit and run car accident and is wanted by the police. Looking for answers, Martins uncovers some nasty truths about Lime.

Despite being on screen for only a short time, Orson Welles is the perfect Moriarty, intellectually brilliant, articulate, urbane and utterly indifferent to his friends. The final chase through the sewers of Vienna is pure noir, the unromantic ending logical. When visiting Vienna, do check out the Third Man Walking Tour.

fargo4. FARGO (Joel & Ethan Coen) A police thriller where the misery of a North Dakota winter and the mundanity of Midwest culture work as well as the mean streets of noir.

A beleaguered car salesman (William Macy) conspires with a pair of criminals to kidnap his wife for money and to get revenge on his rich father-in-law. Naturally things go pear-shaped, partly due to the dogged investigation by the local – and heavily pregnant- police chief (Frances McDormand).

Some really macabre scenes – we all know what’s gonna happen with that wood chipper – and lots of dark humour. Who can forget Carl Showalter (Steve Buscemi) burying the ransom money in the endless snow along the highway then marking the spot with a tiny ice scraper? Ordinary folks and petty criminals alike die because they’re not equipped to deal with true evil, as portrayed by Danish Shakespearean actor, Peter Stormare. For once good triumphs over evil…sort of.

the-asphalt-jungle3. THE ASPHALT JUNGLE (John Huston) The heist film that spawned the caper sub-genre. Classic noir: tough criminal characters, mean streets, desperate motivations, greed and corruption.

Four criminals and a corrupt lawyer conspire to rob a fortune in jewels, but are undone by mutual treachery and unforeseen hitches in their plan. Great performances by Sterling Hayden and Sam Jaffe. Interestingly, the film features the debut of Marilyn Monroe as the elderly lawyer’s young mistress. At the time, she wasn’t big enough to be on the movie poster!

touch-of-evil2. TOUCH OF EVIL (Orson Welles) Tough choice between my top two favs: they’re really a tie.

I first saw Touch of Evil on late night TV. Deemed weird and disturbing at the time, I secretly loved it and still do. Seeing it now, I believe that the film was too truthful for the time because of its candid portrayal of police corruption and violence. Today it’s listed as one of the best films of the 20th century.

In the story, two people are killed when a car bomb goes off at a border crossing between the USA and Mexico. The veteran American cop, Hank Quinlan (Orson Welles), wants a quick solution and plants evidence to frame the most likely suspect, a Mexican citizen. Vargas, the Mexican detective (Charleton Heston), stands up to Quinlan with blowback that nearly kills him and his American wife, Susie (Janet Leigh).

Classic noir: mean streets, corruption, nasty characters, drugs, illicit sex, but much, much more. The film foreshadows tech noir: the final confrontation between Quinlan and Vargas takes place in a decayed industrial setting. It’s brutally frank about the bullying nature of American-Mexican relations, the corruption of male cronyism and women’s vulnerability in a patriarchal society. Some neat touches: Mercedes McCambridge plays a frankly lesbian hoodlum. For readers who don’t know her, McCambridge was the voice of the demon in The Exorcist.

Orson Welles is amazing as bloated, uber-corrupt, sixtyish Hank Quinlan; impossible to believe that he was only 43 at the time. Incredible, surreal scenes between him and Marlene Dietrich as his former mistress and the owner of a Mexican bordello. The single 3-minute tracking shot at the start of the film, that follows the convertible with the ticking time bomb, made cinematic history.

sunset-boulevard1. SUNSET BOULEVARD (Billy Wilder) Not just my favorite film noir, but one of my all-time favs period. In the story, a broke screen writer, Joe Gillis (William Holden) is trying escape the repo men. He hides out on the grounds of a mysterious Hollywood mansion inhabited by a forgotten star of the silent movies, Norma Desmond (Gloria Swanson). Determined to make a comeback, Norma hires Gillis to rewrite her awful screenplay. Gillis figures it’s easy money, so he agrees, but gradually he becomes Norma’s boy-toy. When he decides to escape, well, guess what happens.

Like all great films, Sunset Boulevard is much more than its gripping story. It’s about the tragedy of vanity and delusion – and the price paid by enablers. It’s also about the cost of refusing to accept change and abandoning your self-worth for easy money.

Gloria Swanson gives a legendary performance as Norma Desmond as does Erich von Stronheim portraying Max, her ex-husband who works as her butler. (Sick or what?) Wonderful gothic sets. Who can forget the image of the dead chimpanzee’s funeral or the rats in the dry swimming pool?

Billy Wilder broke several Hollywood conventions: many celebrities played themselves ( Buster Keaton, Cecil B. DeMille) and the narrator is a dead man. Truly one of the most haunting and satisfying endings in the movies when Norma walks into the camera for her close-up.

Books

glowgrassGLOW GRASS and OTHER TALES – COMING FALL, 2016

My latest book contains nine noir and dark comedy stories. It includes the Arthur Ellis novella finalist, Glow Grass, Bony Pete winner, “The Lizard” and Derringer runner-up, “The Ultimate Mystery”. The Kindle and print editions will be available on Amazon this week. The print edition will be on sale at selected bookstores in November, 2016.

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windigofireWINDIGO FIRE – SERAPHIM EDITIONS, SEPTEMBER 2014

A critically acclaimed thriller, Windigo Fire, was a finalist for the Arthur Ellis Best First Novel Award and a Huffington Post Book for Book Clubs Selection.

Danny Bluestone, a young native Canadian, overeducated and underemployed, has holed up in his hometown of Red Dog Lake in Northern Ontario. Fighting boredom while working as a camp counsellor at a children’s camp, he plays the role of native guide for an illegal bear hunt, organized by Santa, a shady Australian who runs the local highway attraction, Santa’s Fish Camp. He flies out to a remote hunting camp in the bush and wakes up to find all the hunters murdered, all but one, an enigmatic American. The two must team up to survive the wilderness, the killers and the Windigo, a spirit evil unleashed by the killing of the bear.

This book is the first in a series featuring Danny Bluestone and the many characters in Red Dog Lake where the favorite pastime is karaoke strip night!

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Bio

madeleine-2M. H. Callway is a writer to watch – Margaret Cannon, Crime Fiction Reviewer, The Globe and Mail

M. H. Callway is an award-winning crime fiction writer. Her critically acclaimed debut novel, Windigo Fire (Seraphim Editions) was a finalist for the 2015 Arthur Ellis Best First Novel Award.

Madeleine’s short stories have been published in several anthologies and magazines. Many have won or been short-listed for major awards such as the Derringer and the Bony Pete. In 2016, her novella, Glow Grass, was a finalist for the Arthur Ellis Award.

Madeleine blogs regularly on her website about street art and weird encounters (Surreal Trapdoor), books and bookstores (Eat this Book) and wonderful people in her life (Cyber Café). Visit her at http://www.mhcallway.com.

In 2013, she founded the Mesdames of Mayhem, a group of 15 established Canadian women crime writers. Readers can enjoy their stories in the anthologies: Thirteen, 13 O’clock and 13 Claws. Visit the Mesdames at http://www.mesdamesofmayhem.com

Madeleine is a longstanding member of Crime Writers of Canada and Sisters in Crime. An avid cyclist, runner and downhill skier, she has participated in the Toronto Ride to Conquer Cancer every year since 2008. She and her husband share their Victorian home with a spoiled cat.

Where to find M.H. Callway…

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